Interview: Matthew Weldon Showman of Ferrara Showman Gallery
Tiffany Calvert painting, Ferrara Showman Gallery
By Kate Zaliznock
In this interview, I had the pleasure of sitting down with Matthew Showman, the dynamic director of the Ferrara Showman Gallery. My first interaction with Showman was at the San Francisco Art Fair earlier this year, where his genuine enthusiasm for the booth’s artwork was as impressive as the pieces themselves. His journey to this role is as intriguing as his passion for art.
Originally from Pittsburgh, Showman began his academic career in pre-med. Then his path took a significant turn when he joined a contemporary visual culture group and took an elective art history course. Although he always had an interest in art, this experience truly unlocked his passion. This newfound zeal led him to swiftly change his major, resulting in what he describes as a “super fun conversation with my parents.”
After making this shift, Showman spent a few years in Europe. His extensive work experience also includes stints at prestigious institutions such as the Warhol Museum, the Centre Pompidou in Paris, and the Dulwich Picture Gallery in London.
With deep familial ties to New Orleans—his grandmother grew up there—Showman felt a strong pull to the city after his time abroad and began his career at the Ferrara Gallery in 2011 as a part-time gallery assistant. By 2012, he took on curatorial duties full-time, and just a year later, at the age of 24, he became the gallery's director. Now, he is a full partner at the renamed Ferrara Showman Gallery.
Here we explore Matthew's fascinating journey, his vision for the Ferrara Showman Gallery, and his insights into the vibrant art scene.
You've navigated the art world from a young age, becoming the director of what is now Ferrara Showman in your early 20s. What has contributed to your success, and what advice would you offer to the next generation of professionals with similar ambitions?
Honestly, this was completely a result of hard work and curiosity. Coming from a museum background during my years at university, I was excited by the prospect of learning more about the commercial gallery aspect of the art world. In my first few months at the gallery, I was enchanted by the fast-paced (monthly exhibitions opposed to shows which run 3-6 months at a time), interdisciplinary nature of the business. Unlike a museum where roles are very specific and clearly defined, I found myself working with the artist directly, installing their artwork, coordinating marketing and social media campaigns, taking on curatorial roles, communicating with and selling to clients, educating visitors, even cleaning and protecting the artworks. My role, and every employee of the gallery’s role, was so fluid and all encompassing. I was, at once, performing duties of every department of a museum staff. In order to succeed in such a post, I knew I would need to be proactive, efficient, and autonomous—no task is too small or mundane and every task is within the job description. With all this said, my greatest piece of advice to young professionals interested in gallery work is simply to understand the many hats that must be worn and embrace the thrill of every day being a learning opportunity: la new person to meet or artwork to discover or problem to solve.
What has been the most rewarding aspect of your transition to becoming a full partner in the gallery?
Ego aside, it has been most rewarding to receive greater recognition for my work in the gallery. For several years now I have assumed nearly all creative direction of the gallery’s programme and I do believe that was not understood by many of our patrons. It is a result of my own research, planning, and cultivation of our artists that the gallery remains one of the premier galleries of the South.
Can you tell us about the installations you have coming up?
We have two very exciting exhibitions on the horizon… firstly the 28th Annual NO DEAD ARTISTS International Juried Exhibition of Contemporary Art opens in September. The call for artists remains open until 17 June but will be extended by one week as artists complete their submissions. Year after year a rotating panel of jurors select 12-20 artists who display innovations and important topics in contemporary art culminating in a group exhibition at the gallery. This exhibition provides an opportunity to engage new artists in our programme and several continue to exhibit with us for years to come. The call also serves as part of my own curatorial research, from which I have worked with applicants who may not have been selected for the group exhibition.
Secondly, this autumn will open Prospect.6 New Orleans triennial, the largest international exhibition of its kind in the United States. The founder and original artistic director, Dan Cameron, will be curating a satellite exhibition at my gallery (and has the last two iterations as well) entitled « Hidden in Plain Sight ». Additionally, gallery artist Ruth Owens will be a featured artist in P.6, unveiling an extensive video project at the Contemporary Arts Center, and will have a concurrent solo exhibition of her paintings at my gallery.
What aspects of the New Orleans arts community make it unique and important?
I think the extent of the visual arts landscape of New Orleans is largely unknown. People think about music and culinary arts when they think of our city. I have largely tasked myself with spreading the recognition of our arts community through my work in the Arts District New Orleans (formerly served as president and currently in my second term as vice president) as well as my own gallery’s art fair participation—exporting the rich arts of our city in hopes of attracting tourism.
How does Ferrara Showman serve as a valuable resource for your artists?
I often hear from my artists, particularly those who are represented by multiple galleries, that their relationship with me and my gallery is unusually intimate, supportive, and efficient. I make myself completely available to my artists anytime they would like to bounce an idea off of me, need help with logistics in their studio, or even just need someone to talk to. Our professional relationship is one that I take very personally and in most cases often forms friendships. I think that this personal touch and care often ensures the success of the business.
The gallery is described as a collective environment of creative visions and a commercial gallery with a public conscience. Could you share some examples that illustrate this mission?
Several of our exhibitions employ some aspect of education, activism, or other sort of community outreach—and beyond this we offer a safe and welcoming space to the community. Moreover our artists also further this mission through their own diverse and personal purposes in creating art.
Examples include: Guns in the Hands of Artists, annual event « Art Beyond Arts’ Saké » (I partner with a local charity to table in the gallery for the opening reception and proceeds that month are donated to them), Alexander Stolin (proceeds benefitted relief to Ukrainian relief)… to name a few.
Is there a piece of art currently in the gallery that you feel particularly connected to, and why?
This sort of question is always the most difficult to answer because all of my artists have such unique and strong messages in their work and hence varying connections for me to them. Of course I am thinking most about my current shows at any given time, and in this moment I am really excited about the conversation that Jered Sprecher and Bonnie Maygarden’s work has with one another … at first glance seemingly very different, but upon learning more seeing two different approaches to the discussion of painting in the digital age.
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